Thursday, 25 August 2016

PAT MOONCHY























"blood pink noise"
Year:    2016
Country:    Italy
City:    Milan
Label:    Pan y Rosas
Format:    digital
Tracks:    10
Time:    40 min.
Genre:    electronic
Style:             Abstract            Experimental













Pat Moonchy has been performing for twenty years as a dj and experimental musician. she is an existentialist and versatile personality in a state of constant evolution; a developer of an intensely personal musical language. she first played the electric bass, then non-western philosophies inspired further self evolution and she explored vocal techniques – harmonic singing and circular breathing. as her interest in electronic music grew she learned to play the theremin with barbara buchholz. she also runs the club, The Moonshine, in Milan. All these tracks are really great, and stand as fine examples of wayward abstract and concrète music. "blood pink noise" is described as experimental abstract by the label "Pan y Rosas", but these ten pieces do lurk at the edges of that genre. Nevertheless, they are very clearly coming from that context, and are thoroughly recommended to experimental and musique concrète fans. All pieces generate interesting atmospheres and are technically fascinating for their use and treatment of human voice and instrumentts (or objects): the almost microscopic presence of crackle on Origin, the very clear deployment of low end wall rumble on Topic of the Veil. It’s a very compelling release and an artist to definitely check out her other recordings.
  Discogs  ,  Lastfm  ,  Bandcamp  ,  Web  ,   Facebook   ,  Soundcloud  ,  Pan y Rosas Records
















































































































































































































Tuesday, 23 August 2016

SARAH MURCIA























"never mind the future"
Year:  2016
Country:  France
City:  Paris
Label:  Ayler
Format:  CD
Tracks:  13
Time:  56 min.
Genre:  acoustic
Style:            Free Jazz            Post Punk













In foutraque disc with jazz and punk (or the reverse) the bass singer in full the unique album of the Sex Pistols in the light of a situationist theory. She plays jazz "deconstructed" as we would say in a cooking show, you have recognized the very breakzit Anarchy in the U.K. interpreted here by Sarah Murcia. The bassist, arranger and singer who gets the opportunity to fully album Never Mind the Bollocks. "Regardless of the balls" does it translate crudely, the only studio album from British band released in 1977, often repeated but rarely full, and in the mess regarding the songs but also in spirit. Over the year of recovery, it is a work of reflection, dismantling this disk since as explained Sarah Murcia "Never Mind the Bollocks is a third of music, and two thirds of concepts, they political or aesthetic". Jazz punk interpretation (or vice versa) inspired by the reading of the American Greil Marcus's Lipstick Traces and a secret history of the twentieth century (Editions Allia, 1998) famous book approached Johnny Rotten of the Situationists, or Saint Just the Paris Commune as if Dada Dada had existed before, it was pepper volatile who sneeze history in Europe. Sarah Murcia, head of woman with the SC group (composed only of men: a saxophone Olivier Py (no relation to the director of the Avignon Festival, which he sometimes turns into Miss Knife) here are Gilles Coronado ( guitar) Franck Vaillant (drums), plus two guests: a pianist (Benoît Delbecq) and choreographer and singer Mark Tompkins echoing entirely fair Lydon. (*NOTE = this review was writen by Matthieu Conquet).
  Discogs   ,   Lastfm   ,   Bandcamp   ,   Wikipedia   ,   Web   ,   Facebook   ,  Ayler Records 


























































































































Tuesday, 9 August 2016

AU PAIRS























"playing with a different sex"
Year:    1981
Country:    UK
City:    London
Label:    Universal Music
Format:    CD , LP
Tracks:    12
Time:    36 min.
Genre:    rock
Style:              Post Punk






















Blasting into the post-punk consciousness with a tremendous debut album, the Au Pairs, fronted by lesbian-feminist Lesley Woods, played brittle, dissonant, guitar-based rock that shared political and musical kinship with the Mekons and (especially) the Gang of Four. The music was danceable, imbued with an almost petulant irony, and for a while, very hip and well-liked by critics. Unlike many bands of the day, however, the Au Pairs (at least initially) backed it up with searing, confrontational songs celebrating sexuality from a woman's perspective. Also, they took swipes at the conservative political climate sweeping England after Margaret Thatcher's election as Prime Minister. Occasionally, Woods' commitments to sexual and social politics made her sound inflexible, doctrinaire, and hectoring (especially on their OK second album). But, at first blush, the Au Pairs were a mighty intimidating proposition, able to take on so much and deliver great music in the process. After a desultory live album in 1983 (Live in Berlin), the band split up, and Woods and her bandmates have maintained a low profile.
  Discogs  ,  Lastfm  ,  Bandcamp  ,  Wikipedia  ,  Facebook  ,  Myspace 





















































































































Sunday, 24 July 2016

ACID EATER























CHRISTINE 23 ONNA
Year:    2002
Country:    Japan
City:    Tokyo
Artist:    Masonna
Label:    Midi Creative
Format:    CD
Tracks:    10
Time:    50 min.
Genre:    rock
Style:            Psychedelic Rock             Space Rock














Maso Yamazaki, better known by his stage name MASONNA, is a japanese noise musician. He was born Takushi Yamazaki on November 16, 1966 in Miyazu, Kyoto, Japan. Masonna was started in 1987 in Osaka as Maso Yamazaki's noise project. The name is a combination of the Japanese words Maso (マゾ?, Masochist) and Onna (女?, Woman). It is also a pun on the name of the pop singer Madonna. The name is sometimes rendered as an acronym for Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé or Mystic Another Selection Of Nurses Naked Anthology. Maso also performs as Space Machine using vintage analog synthesizers. He has performed with the psychedelic rock groups "Christine 23 Onna", which then became as punk rock band "Acid Eater" with the additions two members, as well as the harsh noise supergroup Bustmonster and the noise trio Flying Testicle.
  Discogs   ,   Lastfm   ,   Bandcamp   ,   Masonna   































































































"virulent fuzz punk ACID"
Year:    2007
Country:    Japan
City:    Kyoto
Artist:  Masonna
Label:    Time Bomb
Format:  CD
Tracks:    12
Time:    41 min.
Genre:    rock
Style:            Garage Rock            Punk Rock



  Discogs   ,   Lastfm   ,   Bandcamp   ,   Masonna 







































































































"Black fuzz on wheels"
Year:    2010
Country:    Japan
City:    Kyoto
Artist:    Masonna
Label:    Time Bomb
Format:    CD
Tracks:    10
Time:    35 min.
Genre:    rock
Style:            Garage Rock            Punk Rock














Back in the early 2000's, there was quite a buzz over on the Julian Cope website Head Heritage. The Arch Drude was busy turning anyone who would listen onto the delights of the new Japanese Psychedelic Underground. Bands we'd never heard of such as Acid Mothers Temple, Les Railles Denudes, Speed Glue and Shinky, Boredoms and Far East Family Band started peppering the reviews section. The 'Unsung' forum, where many of us music freaks hung out was awash with the names of these new and undiscovered sonic adventurers, and many of the 'heads' who posted picked up the thread and started their own voyage of discovery too. A great little network of CDr sharing sprung up among regular posters to swap these rare, expensive and often severely limited slabs of plastic. For me, many of these bands had their moments but two really stuck out, Boredoms and Christine 23 Onna. On April 21st 2005, 'Christine 23 Onna' became 'Acid Eater' after adding two further members Miyaka Kinsaki (Organ) and Akiba (Drums). There latest album 'Black Fuzz On Wheels' ups the 'Garage Punk' ante massively, sounding more like 'Guitar Wolf' or 'Teengenerate', with sadly, less 'spaceyness', but, despite this.
S'all Good though, s'all gooood.
  Discogs   ,   Lastfm   ,    Bandcamp  ,   Masonna 




























































































Tuesday, 5 July 2016

CRASS
























"The feeding of 5.000"
Year:    1978
Country:    UK
City:    London
Label:    Crass
Format:    CD , LP
Tracks:    18
Time:    40 min.
Lyrical themes:    anarchism, pacifism
Genre:    rock
Style:            Post Punk            Experimental















CRASS were an English anarcho-punk band, formed in 1977 and based around Dial House, an open house community near Epping, Essex, England. In contrast to the Sex Pistols ‘anarchy’, CRASS’ attitude was more directly influenced by libertarian socialist philosophy and anarchism’s nineteenth century roots. In the process they promoted anarchism as a legitimate political ideology, way of living, and as a resistance movement , popularizing the seminal peace punk movement and touching on such overtly political issues as anti-consumerism, direct action, feminism, pacifism, anti-corporatism, environmentalism, anti-globalization, anti-racism, religious power, and squatting. Taking literally the punk manifesto of “Do It Yourself”, Crass combined the use of sound collage, graphics, song, film, and subversion to launch a sustained and innovative critical broadside against all that they saw as a culture built on foundations of war, violence, sexism, prejudice, capitalism, religious hypocrisy and unthinking consumerism. They were also critical of what they perceived as the flaws of the punk movement itself, as well as wider youth culture in general. CRASS were amongst the progenitors of the anarcho-pacifism that became common in the punk music scene.
  Discogs  ,  Lastfm  ,  Bandcamp  ,  Wikipedia  ,  Web   ,  Facebook  ,  Myspace 


































































































































































"stations of Crass"
Year:    1979
Country:    UK
City:    London
Label:    Crass
Format:    CD , 2 x LP
Tracks:    20
Time:    45 min.
Genre:    rock
Style:            Post Punk             Experimental







  Discogs   ,   Bandcamp    





























































































































































"Penis envy"
Year:    1980
Country:    UK
City:    London
Label:    Crass
Format:    CD , LP
Tracks:    10
Time:    35 min.
Lyrical themes:    anarchism, pacifism
Genre:    rock
Style:                Post Punk                  Experimental



























"Penis Envy", released in 1980, was the second LP by anarcho-pacifist punk band CRASS. Named as a reference to some of Freud's ideas concerning sexuality, this release marked something of a departure from the somewhat 'macho', 'hardcore punk' image that The Feeding of the 5000 and its follow up Stations of the Crass had to some extent given the group, for it featured more obviously complex musical arrangements, as well as exclusively female vocals provided by Eve Libertine and Joy De Vivre (although Steve Ignorant remained a group member and is credited on the record sleeve as not on this recording). The album addressed feminist issues and once again attacked the institutions of 'the system' such as marriage and sexual repression. One track, not actually listed on the album cover, was a deliberately sacharine (described in fact by the band themselves as pure, unadulterated shit) parody of a "MOR" love song entitled "Our Wedding". This was given away as a flexi disc with a teenage girl's romance magazine called Loving after having been offered it by an organisation calling itself Creative Recording And Sound Services (note the initials). A minor tabloid furore erupted once the hoax was revealed, with the News of the World going so far as to state that the album's title was "too obscene to print" (a leaflet giving the background to this Situationist-style prank was subsequently issued by the band). Now considered a rarity, the original flexi-disc now fetches high prices on the collectors market. The album was banned by retailers HMV. During the mid-1980s, under the direction of James Anderton copies were seized, along with other records by Crass and The Dead Kennedys, by Greater Manchester Police from Eastern Bloc record shop. Frank Schofield was charged with displaying "Obscene Articles For Publication For Gain". The band Flux of Pink Indians, its two record labels and its publishing company were also charged under the Obscene Publications Act. The judge ruled against Crass in the ensuing court case, although this decision was overturned by the Court of Appeal, apart from the lyrics to one song, Bata Motel. The heavy costs incurred by this episode were a contributing factor in Crass deciding to disband.
  Discogs   ,   Lastfm   ,   Bandcamp  
















































































































































"Christ, the album"
Year:    1982
Country:    UK
City:    London
Label:    Crass
Format:    2 x CD , 2 x LP
Tracks:    34
Time:    90 min.
Lyrical themes:    anarchism , pacifism
Genre:  rock
Style:               Post Punk              Experimental














Christ – The Album is CRASS third album, released in 1982. It was released as a boxed set double vinyl LP package, including one disk of new studio material and another, entitled Well Forked.. but not dead, featuring a live recording of their June 1981 gig at the 100 Club in London along with other studio tracks, demos and tape fragments. The album also included a book, A Series Of Shock Slogans and Mindless Token Tantrums (which featured Penny Rimbaud's essay The Last of the Hippies, telling the story of the suspicious death of his friend Wally Hope) and a large size poster painted by Gee Vaucher. The album took almost a year to record, produce and mix, during which time the Falklands War had taken place. This caused Crass to fundamentally question their approach to making records, for as a group whose very reason for existing was to comment upon political issues, they felt they had been overtaken and made to appear redundant by real world events. Subsequent releases, including the singles "How does it Feel to Be the Mother of A Thousand Dead" and "Sheep Farming in the Falklands" and the album Yes Sir, I Will saw the band strip their sound 'back to basics' and were issued as 'tactical responses' to political situations. Re-releases of the album bear the line "With love to Steve Herman who died on the 4th of February 1989" on the back cover. Steve Herman was Crass' guitar player during their first few months. The 'Crassical Collection' version of this release, including new artwork by Gee Vaucher, remastered sound, liner notes by Steve Ignorant and Penny Rimbaud, and bonus material, was released May 2011. It does not contain the original album cover or any of the material from the 'Series Of Shock Slogans' booklet.
  Discogs   ,   Lastfm   ,   Bandcamp 



























































































































































































































"Yes sir, I will"
Year:    1984
Country:    UK
City:    London
Label:    Crass
Format:    CD , LP
Tracks:    10
Time:    36 min.
Lyrical themes:  anarchism, pacifism
Genre:  rock
Style:             Post Punk             Experimental















Yes Sir, I Will, released by CRASS in 1984 was the band's last 'official' album. The original vinyl release contained no banding between songs, thus presenting the contents as one long piece split over both sides (the CD release was tracked by individual song). The album was essentially a bitter and virulent attack on then prime minister Margaret Thatcher and her government in the aftermath of the Falklands War, set nearly wholly over a raging and an almost free-form improvised backing provided by the groups' instrumentalists. Many of the 'lyrics' of this piece, which can be read at, are extracted from Rimbaud's extended poem Rocky Eyed. Sleeve notes for the album include parts of Rimbaud's article The Pig's Head Controversy that originally appeared in the Crass produced magazine International Anthem. The title of the record is ironic, taken from a news cutting reporting a conversation said to have taken place between Charles, Prince of Wales and a badly burned soldier (Simon Weston) who had returned from the Falklands; "Get well soon," the Prince said. And the heroic soldier replied "Yes sir, I will". Penny Rimbaud, commenting on this, has said "That was the hook. That was such an audacious thing to do at the time. Especially given that one had to feel compassion for Simon Weston". A film made by Crass member Gee Vaucher to accompany Yes Sir, I Will was shown at the UK National Film Theatre's Stuff the Jubilee festival of punk films in 2002, and the track has been recently remixed by Penny Rimbaud to incorporate additional jazz instrumentation provided by Ingrid Laubrock (saxophone) and Julien Seigal (double bass) to augment the original performance. The 'Crassical Collection' version of this release, including new artwork by Gee Vaucher, remastered sound and liner notes by Steve Ignorant and Penny Rimbaud, was released on May 17th, 2011. The reissue also contains a second disc (entitled 'Why Don't You Fuck Off?'), which features Penny Rimbaud's 2002 remix of the album, featuring jazz instrumentalists Ingrid Laubrock and Julien Seigal.

  Discogs   ,   Lastfm   ,   Bandcamp 




























































































































 













PENNY RIMBAUD
"Acts of love"
Year:    1984
Country:    UK
City:    London
Label:    Crass
Format:     LP , CD
Tracks:    50
Time:    26 min.
Genre:    electronic , vocal
Style:                   Modern Classical



  Discogs   ,   Lastfm   ,    Bandcamp   ,   Wikipedia 





























































































































"Tribute to CRASS"
Year:    1993
Country:    UK
City:    London
Label:    Ruptured Ambitions
Format:    2 x LP
Bands:    27
Tracks:    27
Time:    68 min.
Genre:    rock , electronic
Style:       Folk , Rock , Industrial , Punk , Art Rock , Techno , Experimental


























I have the luck to find this double LP early 90s in a small old shop in London city and more I listen to it... more I like it. This is not the typical tribute which bands try to make to songs as a clones but completly the opposite. Here we can to listen to bands from doom metal to techno to folk to reggae or punk, of course. All of them (43 bands) made classic CRASS songs but in its own style. The result is more than satisfactory and very original. On vinyl format there was an old fashion fanzine with lyrics and info about the bands (bio, contact, pics, etc.) but I had never see the CD format.














































































































































































































































SCHWARTZENEGGAR
The Way Things Are....And Other Stories
Year:    1994
Country:    UK
City:    London
Label:    Allied Recordings
Format:   CD , LP
Tracks:    
Time:    32 min.
Lyrical themes:    anarchism , pacifism
Genre:    rock
Style:             Punk Rock



  Discogs   ,   Lastfm   ,   Bandcamp   ,   Web   ,   Facebook   ,   Allied Recordings  



















































































































































































































































































































"Tribute"
Year:    2016
Country:    various
Label:    none
Format:    digital
Bands:    14
Tracks:    14
Time:    36 min.
Genre:    rock , acoustic
Style:            Punk            Anti Folk


  Discogs   ,   Lastfm    ,    Bandcamp  






























































































PENNY RIMBAUD
"yes Sir, the truth of Revolution"
Year:    2016
Country:    UK
City:    London
Label:    Cold Spring
Format:    CD , LP
Tracks:    12
Time:    40 min.
Genre:    electronic , jazz , rock
Style:             Punk             Free Jazz             Experimental














Penny Rimbaud presents a reworking of Crass's album, Yes, Sir, I Will (1982), titled Yes Sir, The Truth Of Revolution. Crass' album, Yes, Sir, I Will, was possibly the most angry and hard hitting attack on the political /  military / industrial complex ever consigned to vinyl. Written by Penny Rimbaud in 1982 at the height of the Falklands conflict, it seethes with righteous indignation over what he saw as a pointless but vicious exercise in vote catching by a government whose popularity was severely on the wane. So powerful was this critique that it led to threats of prosecution by that very same government, threats which were typically used by Crass to further their attacks on it and its tyrannical leader, Margaret Thatcher. Over thirty years later, in 2014, Rimbaud was asked to participate in the Rebellion Festival, a yearly punk gathering held in Blackpool, UK. Rimbaud and the festival organizers agreed that as an appropriate response they should open the event with a performance of Yes, Sir, I Will. Rimbaud began to question the relevance of some of the content of Yes, Sir. It seemed to him that much of it was pertinent only to the time in which it was written, a time when a genuine social uprising had appeared to be a very real possibility. But times change and there was, he felt, an element of aggression within the work which veiled its essential message of love and peace. With this in mind, and inspired by John Lennon's "All You Need is Love," he set about rewriting Yes, Sir from what he describes as a more Taoist viewpoint. He was largely able to satisfy his wish to change Yes, Sir into an expression of compassion, that being the hugely demanding realm of love in its unconditional form. For the Rebellion performance of the now retitled Yes, Sir, the Truth of Revolution, Rimbaud was joined by Crass' lead vocalist Eve Libertine plus a group of leading musicians from the London jazz scene. Named L'Académie Des Vanités, the band consisted of: Eve Libertine - vocals; Penny Rimbaud - vocals; Louise Elliott - sax; Kate Shortt - cello; Jennifer Maidman - guitar; Phil Robson - guitar; Thad Kelly - bass; Gene Calderazzo - drums. Equally, through its progressive and colorful imagery, the vibrant packaging designed by Gee Vaucher shows a refusal to harp back to the illusory golden past of punk dreams and conceits (*NOTE = this review was writen HERE).
   Discogs   ,   Lastfm   ,   Bandcamp   ,   Cold Spring  

































































































































"Live in Conway Hall Statement"
Year:    1979
Country:    UK
City:    London
Label:  none
Format:    cassette
Tracks:    13
Time:    32 min.
Genre:    rock
Style:            Post Punk            Experimental



  Discogs   ,   Bandcamp   

































































































































"live at the Witham labour hall"
Year:    1981
Country:    UK
City:    London
Label:    none
Format:    cassette
Tracks:    25
Time:    74 min.
Genre:    rock
Style:            Post Punk            Experimental



  Discogs   ,   Lastfm   ,   Bandcamp  











































































































JEFFREY LEWIS
"Tribute to Crass"
Year:    2007
Country:    US
City:    New York
Label:    Rough Trade
Format:    CD , LP
Tracks:    12
Time:    36 min.
Genre:    acoustic
Style:            Anti Folk




  Discogs   ,   Lastfm   ,   Bandcamp   ,   Wikipedia   ,   Web    ,   Facebook   ,   Myspace